Assessment 1: Response 5

Anaisha Williams
President
The Global Humanitarian Project
289 Bahabia Street
Glen Innes, NSW 2370

 

5th September 2017

 

Dear Anaisha,

I am writing to you on behalf of United Villages NGO, to ask for funding for an exciting project we are currently working on; the expansion of the Internet Village Motoman Network (IVMN) in remote villages in Ratanakiri, Cambodia.

Our existing Network has already connected 15 schools, teleclinics and a governor’s office to the internet (and email) via offline browser caching. With high illiteracy, poor life expectancy and dependence on subsistive agriculture, this is an important development in the lives of the Khmer Loeu people.

Students and nurses request searches and write emails which are transported by Honda motorbike to a mobile access point. A satellite uplink on the bike is used to connect to the internet. The bike then returns to the village with the answered search queries and email responses.

This project was started in 2006 by Amir Hasson, and has proven itself beneficial within the region – not only in providing essential communications infrastructure, but in improving medical outcomes, educational knowledge and economical opportunities. If we are able to grow the IVMN to include more villages, we may yet see the sharing of diversified and skilled workers between villages, as well as more enduring agricultural practices (preserving the natural beauty of the area).

Your funds will help us grow IVMN to include 15 more schools in surrounding villages. This would be an invaluable contribution to our project and to the villagers of Ratanakiri.

Warm regards,

 

Suzanne Day
Ratanakiri United Villages Initiative
28A Krong Ban Lung,
Ratanakiri, Cambodia

 

 

References

Angkor Tuk Tuk Travel. (2017). Ratanakiri Province in Cambodia, Angkor Tuk Tuk Travel. Retrieved from http://www.angkortuktuktravel.com/siem-reap-attraction-detail.php?travelcode=60

Health Poverty Action. (2017). Background to Ratanakiri, Health Poverty Action. Retrieved from https://www.healthpovertyaction.org/on-the-ground/emergencies/food-crisis-in-east-africa/acute-watery-diarrhoea-outbreak-in-cambodia-and-laos/main-content-background-to-ratanakiri/

Health Poverty Action. (2017). Cambodia, Health Poverty Action. Retrieved from https://www.healthpovertyaction.org/on-the-ground/asia/cambodia/

Ishaq, A. (2010). Drive by WI-FI: internet access for remote villages, ICTs, Education & Entrepreneurship (ICTEC). Retrieved from https://ictec.wordpress.com/2010/02/09/drive-by-wi-fi-internet-access-for-remote-villages/

Lemaistre, A. (2012). Literacy vital for progress, The Phnom Penh Post. Retrieved from http://www.phnompenhpost.com/national/literacy-vital-progress

Margolis, J. (2007). Wi-fi buses drive rural web use, BBC News. Retrieved from http://news.bbc.co.uk/2/hi/technology/6506193.stm

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Assessment 1: Response 4

REFERENCE LIST

Books

Hamilton, C. & Denniss, R. (2005). How much is enough? Affluenza. Crows Nest NSW, Allen & Unwin.

Hamilton, C. (2003). Identity. Growth Fetish. Crows Nest NSW, Allen & Unwin.

Mugge, R., Schoormans, J. & Schifferstein, H. (2007). Product attachment: design strategies to stimulate the emotional bonding to products. Product Experience. Burlington, USA: Elsevier.

Sudjic, D. (2008). The Language Of Things, Kindle Edition. London: England, Penguin Books Ltd.

Journal and online articles

Gianluigi, G., Prete, I., Peluso, A., Maloumby-Baka, C., Buffa, C. (2010). The role of ethics and product personality in the intention to purchase organic food products: a structural equation modelling approach. International Review of Economics, 57(1), 79-102. doi10.1007/s12232-009-0086-5

Hung, W.K., & Chen, L.L. (2012). Effects of novelty and its dimensions on aesthetic preference in product design. International Journal of Design, 6(2), 81-90. Retrieved from http://web.a.ebscohost.com.ezproxy.lib.swin.edu.au/ehost/pdfviewer/pdfviewer?vid=46&sid=a060edc6-fd77-45d0-af9a-ed94049947bd%40sessionmgr4007

Maslow, A.H. (1943) A Theory of Human Motivation. Psychological Review, 50(4), 370-396. Brooklyn College.  doi10.1037/h0054346

Mugge, R., Schoormans, J. & Schifferstein, H. (2009). Emotional bonding with personalized products. Journal of Engineering Design, 20(5), 467-476. doi10.1080/09544820802698550

Norman, D. (2002) Emotion & design: attractive things work better, Interactions, 9(4), 36-42. doi10.1145/543434.543435

Schifferstein, H. N. J., & Zwartkruis-Pelgrim, E. P. H. (2008) Consumer-product attachment: measurement and design implications. International Journal of Design, 2(3), 1-13. Retrieved from http://www.ijdesign.org/ojs/index.php/IJDesign/article/viewFile/325/205

Webpages

Basulto, D. (2016). Evocative Objects: Designing for Emotion and Empathy. Retrieved from http://bigthink.com/endless-innovation/evocative-objects-designing-for-emotion-and-empathy

Komninos, A. (2017). The Reflective Level of Emotional Design. Retrieved from https://www.interaction-design.org/literature/article/the-reflective-level-of-emotional-design

Norman, D. (2009). Selective Memories, Metropolis 28(8), 90-91. Retrieved from http://www.metropolismag.com/design/selective-memories-creating-products-emotional-resonance/

Van Hout, M. (2008). The Mediocre Middle. Retrieved from http://www.design-emotion.com/2008/01/18/the-mediocre-middle/

Audio-visual

Diatta, D. (2015). Material Communications . Retrieved from http://www.designindaba.com/videos/conference-talks/doremy-diatta-how-objects-affect-our-emotions

Hustwit, G. (2009). Objectified . Retrieved from http://www.hustwit.com/category/objectified/

Norman, D. (2003). 3 Ways good design makes you happy . Retrieved from https://www.ted.com/talks/don_norman_on_design_and_emotion

Task 3: Michel Gondry

Gondry’s use of in-camera effects to create “visual music” in The White Stripes’ The Hardest Button To Button video clip is a comprehensive exploration of stop motion that is derived, but not duplicated, from Méliès’ original substitution splicing technique pioneered in The Vanishing Lady in 1896.

In The Vanishing Lady, Méliès “filmed beyond the point where he planned to introduce the substitution, then cut the film at the appropriate place and spliced it very carefully…to the next piece of film containing the new image” (Ezra, 2000, p.28) to create the disappearance of a woman. Although Méliès’ special effect was created post-production, Gondry was able to replicate the vanishing technique mostly in-camera using modern digital equipment to stop/start recording, while moving the scene around between each capture in The Hardest Button To Button. Some post-production editing gave the music video a final polish.

Gondry playfully combines the rhythm of the music with the appearance/disappearance of drum kits and amps, while changing the scenery throughout the clip and allowing the musicians a fair bit of movement between frames (which also are timed to the music). This jaggedness, movement and musical timing is quite different to the smoothness and simple central focusing of Méliès’ earlier films, but it is important to note that both directors use consistent locational and positional references to establish narrative progression and continuity in their work.

A distinctive example of Méliès’ influence on Gondry can be seen in Méliès’ 1903 film Extraordinary Illusions, where an empty magic box suddenly appears in the magician’s arms under cover of an umbrella, and also when the magician “conjures” sheets out of it. This addition of objects to a scene through special effects is creatively duplicated by Gondry throughout the whole White Stripes clip, but is particularly striking when the colourful drum sets appear in time to the music outside the truck repair shop, 2:20 minutes in.

The-White-Stripes-Printscreen

(https://vimeo.com/7442369)

Printscreen of drum sets appearing in The Hardest Button To Button.

If Méliès is considered the pioneering magician of film special effects (Ezra, 2000, p.24), then Gondry is the creatively gifted maestro. Gondry’s original and visually imaginative contemporary works are almost a tribute to the cinematic techniques discovered by Méliès, without which, the world would have been far less entertained.

 

References

Bangs, L. (2009). The White Stripes – The Hardest Button To Button . Retrieved from https://vimeo.com/7442369

Ezra, E. (2000). George Méliès: the birth of the auteur. Manchester: Manchester University Press

Change Before Going Productions. (2011). The Vanishing Lady (1896) – GEORGE MELIES – Escamotage d’une Dame au Theatre Roubert Houdin . Retrieved from https://www.youtube.com/watch?v=f7-x93QagJU

Kaufman, G. (2003). The story behind the White Stripes’ ‘Hardest Button’: Lens Recap. Retrieved from http://www.mtv.com/news/1479718/the-story-behind-the-white-stripes-hardest-button-lens-recap/

Partizan Official. (2014). I’ve been twelve forever (Side B) – short film – Michel Gondry (2004) . Retrieved from https://www.youtube.com/watch?v=zF8kN-M2XNY

Project Muybridge. (2017). Extraordinary Illusions (1903) – Dir Georges Méliès Retrieved from https://www.youtube.com/watch?v=ruv2VsxHRMY

shuffletoeheel. (2011). Busby Berkely clips . Retrieved from https://www.youtube.com/watch?v=druwpau_LcM

silentfilmhouse. (2011). The Haunted Castle 1896 George Melies Silent Film . Retrieved from https://www.youtube.com/watch?v=OPmKaz3Quzo

Assessment 1: Response 3

There are many studies which prove particular design strategies are useful in creating emotional attachment to products.

Product personalisation is one way to effect emotional bonding and attachment. Mugge et al., (2009, p.468) explain that “integrating the consumer in the design process” through creativity is a pleasurable and useful way to elicit emotional attachment, because consumers invest time and mental effort to express their individuality and attach value to that investment. Not only can consumers “communicate a personal [and visible] identity” to others, but they can also feel “a sense of accomplishment” (Mugge et al., 2009, p.469-472). The conclusion from the study on personalised bicycles shows that creative mental effort produces more attachment than physical or functional effort.

Another way that consumers emotionally bond to products is explored by Hung and Chen’s extensive study of chairs. The “results indicate that…trendiness…has the greatest influence on novelty” (Hung et al., 2012, p.89) and that “chairs perceived to be most beautiful were those with a moderate level of novelty” (Hung et al., 2012, p.81), establishing that a visceral connection is derived from combining a familiarity of form with some perceived stylishness (fashion and popularity).

Both of these studies illustrate profound design strategies that can be used to increase emotional attachment to, and enjoyment of, products.

References

Hung, W.K., & Chen, L.L. (2012). Effects of novelty and its dimensions on aesthetic preference in product design. International Journal of Design, 6(2), 81-90. Retrieved from http://web.a.ebscohost.com.ezproxy.lib.swin.edu.au/ehost/pdfviewer/pdfviewer?vid=46&sid=a060edc6-fd77-45d0-af9a-ed94049947bd%40sessionmgr4007

Mugge, R., Schoormans, J. & Schifferstein, H. (2009). Emotional bonding with personalized products. Journal of Engineering Design, 20(5), 467-476. doi10.1080/09544820802698550

Task 2: Design Language

As cities around the world redesign and modernise their visual identities, the question of who they are designed for is becoming a far more essential consideration in the design process.

A good example of destination branding with unique simplicity is the wordmark for the Paris Convention and Visitors Bureau, created by design agency Graphéine. This pleasing “minimalist typogram” or “typographical skyline” (Graphéine, 2016) uses marks functioning as letters – the famous Eiffel Tower is juxtapositioned alongside a playfully tossed ball or romantic moon above a columnar skyscraper. Thoughtful, modern and carefree, the logo retains traditional iconography, while the sans serif typeface with wide tracking modernises, balances and increases readability to the letter “buildings”.

The branding is inviting, reversing out of a bright red background, which emotionally captures the visitor attractions of shopping, romance and passion. Since Paris is quite a well-known city already, the wordmark doesn’t need to convey further historical context and instead works by communicating the place as an easy and fun tourist experience.

In comparison, the new City of Boston identity designed by IDEO is not fun. It is used alongside a traditional official seal and is “a marketable, reproducible rendition…a simple, stately wordmark…sturdy and functional” (Brand New, 2017) conveying governmental authority. This new identity does what it is supposed to do and improves upon its predecessor, but one cannot help but feel sorry for the local citizenry who are not represented by any unique or distinguishing city features.

The generic underlining, standard tracking and bolded capital letters present a strong, united front against the recipient and enhance an “us versus you” message that is the opposite of its intention – instead of serving people, the logo insinuates governmental interference and control. Although the “B” monogram is less intense, it is still generically sober, especially when reversed out of black. “Arguably, this logo could say City of Chicago, City of Omaha, City of Seattle, and it would have the same effect” (Brand New, 2017).

The study of these two identities reveals that it is an incredibly difficult task to “…reconcile selling [a city] in a tourism sense and then receive your [governmental service] with the same symbol” (Glickfield, 2010, p.31).

Graphic designers need to examine the relationship between speakers and recipients carefully and thoroughly if they are to produce a place identity that functions as a source of civic pride, in order to obtain greater public enthusiasm and acceptance.

(http://www.underconsideration.com/brandnew/archives/new_logo_and_identity_for_city_of_boston_by_ideo.php)
(http://www.underconsideration.com/brandnew/archives/new_logo_and_identity_for_city_of_boston_by_ideo.php)

The new City of Boston logo could be applied to any city.

References

Brand New. (2017). New Logo and Identity for City of Boston by IDEO. Retrieved 03 August, 2017, from http://www.underconsideration.com/brandnew/archives/new_logo_and_identity_for_city_of_boston_by_ideo.php

Brand New. (2016). New Logo and Identity for Paris Convention and Visitors Bureau by Graphéine. Retrieved 03 August, 2017, from http://www.underconsideration.com/brandnew/archives/new_logo_and_identity_for_paris_convention_and_visitors_bureau_by_grapheine.php

Glickfield, E. (2010). On Logophobia. Meanjin, 68 (3), 26-32. Retrieved from https://commons-swinburne-edu-au.ezproxy.lib.swin.edu.au/file/d5637c1a-5bb6-41ba-bc54-63f59ad4df93/1/522077.pdf

Graphéine. (2016). Paris Convention and Visitors Bureau rebranding. Retrieved 03 August, 2017, from https://www.grapheine.com/en/branding-en/paris-convention-and-visitors-bureau-rebranding

Assessment 1: Response 2

Inkahoot’s The Caravan Kit is an interesting example of design activism working with local systems and authorities for change. The problem is clearly conveyed on the front cover – a photo of an old caravan window in disrepair communicates that it is about neglected caravan park residents. Commissioned by St Vincent de Paul and the Brisbane City Council (Inkahoots, n.d.), it is a public document intended to be handed out freely to all caravan park residents to provide them with information about basic services.

The need for, and existence of the Kit itself gently increases awareness and “calls for change” (Thorpe, 2011, p.6), while simultaneously assisting the group it represents. It is an unconventional document published using conventional methods, but can only be considered slightly embarrassing as a disruption to authorities because they hadn’t thought to publish such a useful and practical guide earlier (Thorpe, 2011, p.6).

The Caravan Kit is design activism at its finest – it fits all of Thorpe’s criteria and is a great example of what can be achieved through design communication to make life easier for those who really need it.

(http://inkahoots.com.au/projects/the-caravan-kit)
(http://inkahoots.com.au/projects/the-caravan-kit)

References

Inkahoots. (n.d.). The Caravan Kit. Retrieved 27 July, 2017, from http://inkahoots.com.au/projects/the-caravan-kit

Thorpe, A. (2011). Defining Design as Activism. Retrieved from http://designactivism.net/wp-content/uploads/2011/05/Thorpe-definingdesignactivism.pdf

Task 1: Data Visualisation

Data visualisation communicates large amounts of information very quickly to audiences – contrasts and patterns stand out more when data is presented as an image, rather than text. A data visualisation is a graphic or diagram that shows all of the relevant information at the same time in one ‘snapshot’. This is faster than reading and comparing lines of data in, for example, a statistical table. Especially if the statistical table is very long, with thousands of lines to absorb.

It is important to ask a question and then attempt to answer it with data visualisation, so that irrelevant information can be filtered out (Reas & McWilliams, 2010). There are different data visualisation techniques to use, depending on what needs to be shown and to whom.

Network diagrams show simple connections between objects and this can help identify the order of connections in a set, and the location of central ‘hubs’. When a network diagram is used in an instruction manual for a household electrical appliance, it might indicate how to plug it in or how to connect it to a second appliance, which is very useful for consumers. A network diagram of a public transport system might show the biggest stations with the most connections, so that commuters know where they can change trains or it might tell the train company which station will need the most platforms and ticket machines.

Another type of data visualisation is dynamic maps, where extra information is added to ordinary maps so that new ideas are communicated (Reas & McWilliams, 2010). In the video The European Debt Crisis Visualized, dynamic maps show the complex trade barriers between European countries before the creation of the European Union and why the interconnection of these countries made the debt crisis such a serious issue afterwards. It is far easier and quicker to understand the information about tariffs, currencies and debt collection through the maps in this video than it would be to read a chapter about it.

(https://vimeo.com/91098314)
(https://vimeo.com/91098314)

Screenshot of a dynamic map (Jarvis, 2014)

Ultimately, data visualisation helps people understand large amounts of information and the important takeaway concepts. Instead of having to guess what the key points are within pages of boring data, they can see them clearly presented in a graphic instead. Data visualisation also makes information more interesting, so that people find it easier to learn new things.

References
Jarvis, J. (2014) The European Debt Crisis Visualized, Vimeo. [screenshot]. Retrieved from https://vimeo.com/91098314

Reas, C. & McWilliams, C. (2010) Form + Code in Design, Art, and Architecture, New York, Princeton Architectural Press.